To win the kingdom his uncle took from his father, Jason must steal the golden fleece from the land of barbarians, where Medea is royalty and a powerful sorceress, where human sacrifice ... See full summary »
Pier Paolo Pasolini
Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son... See full summary »
Pier Paolo Pasolini
In pre-war Italy, a young couple have a baby boy. The father, however, is jealous of his son - and the scene moves to antiquity, where the baby is taken into the desert to be killed. He is ... See full summary »
In this film inspired by the ancient erotic and mysterious tales of the Middle East, the main story concerns an innocent young man who comes to fall in love with a slave who selected him as... See full summary »
Microphone in hand, Pier Paolo Pasolini asks Italians to talk about sex: he asks children where babies come from, young and old women if they are men's equals, men and women if a woman's ... See full summary »
Pier Paolo Pasolini
Pier Paolo Pasolini,
This consists of four short films by different directors. Rosselini's 'Chastity' ('Illibatezza') deals with an attractive air hostess who receives the unwelcome attentions of a middle aged ... See full summary »
While scouting locations for his classic "The Gospel According to St. Matthew", director Pier Paolo Pasolini noticed that filming in the actual site of the story, in Palestine, wouldn't be ... See full summary »
Five short stories with contemporary settings. In New York, people are indifferent to derelicts sleeping on sidewalks, to a woman's assault in front of an apartment building, and to a ... See full summary »
In a seedy section of Rome, Vittorio Cataldi - "Accattone" ("beggar" in Italian) to those that know him - lives off the avails of prostitution, Maddalena being his one and only girl. He is married to Ascenza with who he has one young son named Iaio, but he does not live with them - they who live with her father and brother - provide for them, or play any important part of their lives. He generally hangs out with his similarly slack life friends playing cards and drinking. His source of income is threatened when Maddalena is injured being hit by a motorcyclist, then beaten by rivals of his, which leads to her being arrested and jailed for a year. Largely because of Iaio, Accattone contemplates going straight and getting a real job. Then he meets Stella, a young innocent woman who has had a hard life, but who is not as naive to the ways of the world as she first appears. Accattone falls in love with her, but as the thought of working a steady job now becomes abhorrent, contemplates ... Written by
A representative outset for a spectacular and controversial career
Pasolini's first film "Accatone" is exactly as one would expect a typical Pasolini film to be: wreathed in raw violence, and shot with a brilliant sense of poetic slash brutal realism, reminiscent of the neo-realism era, and perhaps, if not for sure, a semi-autobiographical portrait of life in the streets of Rome's peripheries. "Accatone" is, at its best, a chunk of life, which Pasolini managed to extract not as it initially was, but dramatically filtered through his own personal lyrical gaze. Gangs, prostitutes, lies and deceit lie in this film's core. A sense of irresponsible opportunism is seen in this film, almost no regrets for the past and no fears for the future. In fact, the movie's tragic hero, Vittorio Accatone, is a dark alter-ego of yet another favored Italian movie character, embodied only a year before by Marcello Mastroianni in "La Dolce Vita". Perhaps, in this case, Accatone was not a party animal journalist who sought ephemeral pleasure in social middle-class gatherings and women, but the spirit is, by itself, maintained astonishingly faithfully: Accatone is no longer a protagonist in Pasolini's movie, doomed to descend lower and lower in social class, losing both his dignity, his social acceptability and his profound "style", but a symbol, a metaphor for Pasolini's own political beliefs. Under this figure of a brute, behind the otherwise repelling image of a short dirty man with a sly smile and a peculiar walk, lies the failure of post war Italian government, a government which, according to this movie's subtext, strove so hopelessly to attain social and economical success for Rome's population, and somehow neglected or marginalized Rome's peripheries, causing people like Accatone and his girlfriends to result in prostitution and theft. A kind of pretension and make-belief well being which was also visible, at the time, in America. Yes, Accatone is the result of this American Dream's pastische.
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